Item #1849 [AVANT-GARDE IN CINEMATOGRAPHY] Sovremennaia kino-tekhnika. Kino-s’emka. Negativnyi i pozitivnyi process. Kino-proektsiia [i.e. Contemporary Movie Equipment. Filming. Negative and Positive Processes. Film Projection]. A. Lagorio.
[AVANT-GARDE IN CINEMATOGRAPHY] Sovremennaia kino-tekhnika. Kino-s’emka. Negativnyi i pozitivnyi process. Kino-proektsiia [i.e. Contemporary Movie Equipment. Filming. Negative and Positive Processes. Film Projection]
[AVANT-GARDE IN CINEMATOGRAPHY] Sovremennaia kino-tekhnika. Kino-s’emka. Negativnyi i pozitivnyi process. Kino-proektsiia [i.e. Contemporary Movie Equipment. Filming. Negative and Positive Processes. Film Projection]
[AVANT-GARDE IN CINEMATOGRAPHY] Sovremennaia kino-tekhnika. Kino-s’emka. Negativnyi i pozitivnyi process. Kino-proektsiia [i.e. Contemporary Movie Equipment. Filming. Negative and Positive Processes. Film Projection]
[AVANT-GARDE IN CINEMATOGRAPHY] Sovremennaia kino-tekhnika. Kino-s’emka. Negativnyi i pozitivnyi process. Kino-proektsiia [i.e. Contemporary Movie Equipment. Filming. Negative and Positive Processes. Film Projection]
[AVANT-GARDE IN CINEMATOGRAPHY] Sovremennaia kino-tekhnika. Kino-s’emka. Negativnyi i pozitivnyi process. Kino-proektsiia [i.e. Contemporary Movie Equipment. Filming. Negative and Positive Processes. Film Projection]
[AVANT-GARDE IN CINEMATOGRAPHY] Sovremennaia kino-tekhnika. Kino-s’emka. Negativnyi i pozitivnyi process. Kino-proektsiia [i.e. Contemporary Movie Equipment. Filming. Negative and Positive Processes. Film Projection]

[AVANT-GARDE IN CINEMATOGRAPHY] Sovremennaia kino-tekhnika. Kino-s’emka. Negativnyi i pozitivnyi process. Kino-proektsiia [i.e. Contemporary Movie Equipment. Filming. Negative and Positive Processes. Film Projection]

Moscow: Kino-izdatel’stvo R.S.F.S.R., 1925. Item #1849

48 pp.: ill. 22,5x15 cm. In original illustrated wrappers. Covers and spine restored (design isn’t affected), ink marks on t.p. and back cover, some soiling, otherwise very good.

This noteworthy book is related to early Soviet cinematography and its international relations.
Constructivist cover design was created by Piotr Galadzhiev (1900-1971), Soviet actor, set designer and artist who besides participating in theater productions was also an illustrator for a few film magazines. He designed covers for Kino-Eye, for the Magazine of the Association of Revolutionary Cinematography and for the popular film library Kinopechat. For the latter he produced a cover for the 1926 pamphlet on Sergei Eisenstein and his famous film ‘Battleship Potemkin’. John E. Bowlt wrote about him: «Galadzhev’s art reflected the motifs of the Roaring Twenties - commercial advertising, mass communication, and the nightlife of big cities». All of this was not fitting the emerging spirit of socialist realism.
This particular book was edited by Pavel Radetsky (1883-1938), photographer and specialist in the physics of rubbers and rubber compounds. Photographs taken by Radetsky in the early 20th century were very popular and were reproduced on postcards. He is the author of several books and technical manuals on photography, guides on creating homemade stroboscopes.
The author, Alexander von Lagorio (1890–1965) was a German cameraman and photographer, a member of the [Soviet] Association of Revolutionary Cinematography and the German Movie Association. Born into the family of the professor of mineralogy Alexander von Lagorio, he initially lived and studied in St Petersburg. He came to Finland with his family in 1917 and to Berlin in 1920, where his father Lagorio became assistant to the chemist Wilhelm Ostwald. Inspired by their scientific work, Alexander von Lagorio dealt with technical problems of color film and in 1923 took photos for a film about Ostwald’s color theory. He entered feature film production in 1928 with trick photography for ‘The Battle of Tertia’. Then he switched to work as a cameraman, initially as Curt Oertel’s partner. His collaboration with Leni Riefenstahl from 1936 to 1938 for her two Olympic films was particularly important. In 1940 he also provided the footage for the first full-length German color film ‘Women Are Better Diplomats’. Afterwards, Lagorio withdrew from active film work and dealt with technical and artistic questions of film design.
In this early work, Lagorio gives a review to some examples of contemporary technics and elaborates on the filming and post-production processes at the same time. For some camera described, he created a scene that may be filmed. “Let’s assume that the operator has been entrusted with photographing an airplane during a figure flight, and he or she doesn’t have the opportunity to take an assistant with them to the filming. Let’s see what modern technology will give them in return”. Lagorio also writes on various compositing and multiple exposure techniques, cameras for slowing down or speeding up process time, capturing extremely fast movements (e.g., dragonfly wings), surgical operations, as well as X-ray, sound, stereoscopic filming, amateur cameras, lighting, editing, projection. In the section on color filmmaking, he recalls the experiments of Ostwald and other European professors in color photography.
The book is illustrated with photographs of cameras ‘Askania’ (Bambergwerk), ‘Debrie Sept’, ‘Kinamo’ (ICA AG), tripods, spotlights, Matipo printer (Debrie), Korrex moving laboratory, editing machines, Mechau and Ertel-Electa projectors. The author printed a diagram for applying sound simultaneously with an image on film, as well as a diagram for projecting such a film.

Worldcat doesn’t track this edition.

Status: On Hold
See all items in Book Design, Film
See all items by